THE SHELLEY & DONALD RUBIN FOUNDATION AWARDS GRANTS IN 2017 THROUGH ITS ART AND SOCIAL JUSTICE INITIATIVE TO 47 NEW YORK CITY ORGANIZATIONS

Vital support to be given to cultural leaders in artistic activism, grass-roots organizations, and community and service centers

New York, January 23, 2017 - Following the second annual Art and Social Justice open call, The Shelley & Donald Rubin Foundation is pleased to announce the grant recipients for 2017, 47 organizations serving the five boroughs of New York City. The 2017 grantees were selected for their commitment to social justice, using art as a tool to catalyze collective action, promote equality, contribute to advocacy and policy change, and develop capacity for greater civic engagement and public discourse. The support provided will assist in day-to-day operations, ongoing programming, as well as support for exhibitions, performances, special projects, and educational programs.

The organizations selected exemplify the Art and Social Justice initiative's areas of interest - arts education, art in service and community centers, artistic activism, community-based museums, expanded cultural access, public art, and emerging artistic practices. Representing a diversity of programming approaches, organizational scales, and missions, grantees include The Laundromat Project for its creative community development project in the Hunts Point/Longwood neighborhoods of the Bronx; the AXS Map Gallery Project, a dedicated network of organizations and people who are building awareness of accessibility and disability inclusion by focusing on artistic venues such as galleries, museums, and community art centers; The Arab-American Family Support Center for "I Need to Be Heard!" a youth-led, anti-Islamophobia artistic activism initiative; and the Isamu Noguchi Foundation and Garden Museum for their upcoming exhibition "Self-Interned, 1942: Noguchi in Poston War Relocation Center." A complete list of grantees is below.

For over 20 years, the Shelley & Donald Rubin Foundation has supported access to art and culture as well as social justice organizations. Launched in early 2015, the Foundation's Art and Social Justice initiative further focuses its commitment to art and culture with the belief that art is a cornerstone of cohesive, resilient and engaged communities. Through its grants program, the Foundation provides necessary funding and programmatic support to organizations promoting art as a mechanism for positive social change with an emphasis on New York City.

"Now more than ever, The Shelley & Donald Rubin Foundation is proud to support organizations that believe in the crucial role that art plays in the fight for social change" said Sara Reisman, Artistic Director of the Foundation. "The grantees are at the forefront of community engagement and cultural advocacy in their communities, tackling timely issues related to xenophobia, islamophobia, LGBTQ rights, racism, criminal justice, income inequality, and women's rights among many others. The work they do to provide fundamental access to the arts in the five boroughs of New York City will be critical in the years to come, given the current political landscape."

In addition to providing integral financial support, the Foundation will bring together grant recipients at The 8th Floor - the Foundation's exhibition and programming space - for workshops, panels, and events. These events will offer a platform for dialogue and exchange between organizations to strengthen their work, and build a sense of community while promoting social justice through art.

About The Shelley & Donald Rubin Foundation
The Foundation believes in art as a cornerstone of cohesive, resilient communities and greater participation in civic life. In its mission to make art available to the broader public, in particular to underserved communities, the Foundation provides direct support to, and facilitates partnerships between, cultural organizations and advocates of social justice across the public and private sectors. Through grantmaking, the Foundation supports cross-disciplinary work connecting art with social justice via experimental collaborations, as well as extending cultural resources to organizations and areas of New York City in need. www.sdrubin.org

Curator Kathy Brew has invited a selection of eleven Animation Hotline films to screen in the Doc Fortnight screening series at the Museum of Modern Art on February 17th and 18th. If you are in or around New York City I'd love for you to join me for one of the evenings. The films that they will be screening are:
Ode to Bikesharing - Thatcher Keats
Blind Man - Richard Koek
Roses - Martha Wilson
My Silver Hair - Carolyn Swartz
Married - Anonymous
Money - David Eppley
Bloody Bandaid - Brian Glasser
Ticket - Sara Rusnick
Soup or Salad - Jarryd Lowder
Toblerone - Anonymous
Tissue - Anonymous
Along with the eleven shorts there will be the North American premier of Ulysses in the Subway directed by Paul Kaiser, Marc Downie, Ken Jacobs and Flo Jacobs.
Doc Fortnight is MoMA's International Festival of Non-Fiction Film and Media that runs from February 16-26. Tickets for the Animation Hotline screening go on sale on February 3.

Viridian Artists is pleased to present the exhibit "Art of Detritus: Recycling with Imagination" featuring fine art made primarily from trash. The heart of this exhibit is the message of the three R's: Reduce/Reuse/Recycle and especialy "upcycling" which is the essence of making art from trash. The exhibit will open January 31st and continues through February 18th with a reception Saturday, February 2nd, 6-8pm. There will also be a closing reception/ poetry slam on Saturday, February 18, 4-6PM. Let's talk about trash!

"Art From Detritus" serves to enrich the dialogue between art and the lives of ordinary people because we all have too much trash. By focusing on recycling or "upcycling" as their method and source for creating, these artists have made their artmaking serve as both a message and inspiration. This exhibit reaches beyond the art world, serving as a message not only about art, but also about recycling for the good of the environment, a goal becoming more and more pressing as we continue to discard packaging and take a new plastic bag each time we buy. The 5 cent charge per plastic bag to be imposed soon will begin to address a small part of this environmental calamity.

Since 1994, the changing group of artists in this exhibit has opened dialogues with viewers about the importance and usefulness of art as something beyond decoration. Artists often cannot afford studio assistants, expensive materials and equipment for art making, but seeing beauty in the discarded, these artists creatively deal with the problem of too much trash by using it to create fascinating and unique art. Artists have been using found objects to make art for eons, but now it has become political.

"Art from Detritus", or art from trash, was first conceived and curated by Vernita Nemec, an artist/ curator in 1994 in Portland Oregon during the annual conference of the National Recycling Coalition (NRC). Presented there in the lobby of a recycled Sears Roebuck building & the corporate head quarters for municipal waste & recycling, the exhibit has re-occurred with funding from the Kauffman Foundation, the Puffin Foundation and sponsorship by the NRC. The exhibit was presented in Pittsburgh at the Westinghouse headquarters, the Museum of Arts & Crafts and the AIA; in Kansas City MO at the Linda Hall Library of Science, Rockhurst College & the Writer's Place. Phoenix AZ, Turners Falls MA and NYC have all been Detritus exhibition sites since those early years. In NYC, Detritus exhibits have occurred at the Henry Street Abrams Arts Center, Gallery 450, Synagogue for the Arts, John Jay College of Criminal Justice, Farleigh Dickinson University, WAH (Williamsburgh Art Center) and for the thirds time at Viridian. (See more information and images of past Detritus shows at www.ncognita.com.)
Vernita Nemec, a.k.a. Vernita N'Cognita, the curator and creator of Art from Detritus, is a visual & performance artist and has been the director of Viridian Artists since 2005. Her complete biography can be seen on wikipedia.
gallery hours Tuesday through Saturday 12-6PM. For further information phone 212-414-4040 or
email viridianartistsinc@gmail.com. View our website, viridianartists.com

2017
ACKER Awards
Theater 80, 80 St. Marks
FEBRUARY 12TH
Doors open at 6PM Shows starts at 7PM.
Free and open to the public.

ABOUT THE ACKER AWARDS

The Acker Awards is a tribute given to members of the avant garde arts community who have made outstanding contributions in their discipline in defiance of convention, or else served their fellow writers and artists in outstanding ways. The award is named after novelist Kathy Acker. Creators of the Acker Awards are Alan Kaufman (San Francisco) and Clayton Patterson (New York City). This year's recipients will have the opportunity to both nominate and vote for future recipients of the Acker Awards.

CLAIRE JEANINE SATIN will be interviewed and filmed for an episode of ART LOFT on PBS TV Channel 2, in Miami at the studio/gallery:
ARTWORKS/ARTSPACE in Dania Beach Florida on February 7, 2017. The episode will cover her background, experience and concepts behind her multidisciplary works. The show will be broadcast at a later date in 2017.. Stay tuned.

CLAIRE JEANINE SATIN is invited to give a talk, together with a selection of her bookworks, at the WHITESPACE COLLECTION, in West Palm Beach, Florida on March 24, 2017 between 1:30-3 PM.

6. Amapola Prada, FF Alumn, at the Whitney Museum of American Art, Manhattan, February 9-19

Hi!

I am in NYC now, i will be participating in the exhibition that is described below. We will be in a 10 day performance from february 9 to the 19th (Orbit) and in the night of the 19th at 8pm we will perform the final event (Assembly). I can leave your name in the museum so you can come to Orbit whenever you want many times +3, please send me a reply to know that you want to be in the list!

MPA'S WHITNEY EXHIBITION TO CONCLUDE WITH A TEN-DAY PERFORMANCE FROM FEBRUARY 9 THROUGH 19

January 27, 2017-Beginning on February 9, artists MPA, Malin Arnell, and Amapola Prada enter Orbit, a continuous ten-day performance staged in the narrow space between the windowpanes of the Whitney's Susan and John Hess Family Theater, overlooking the Hudson River.
The enclosed environment-which includes a composting toilet, plants, a ten-day supply of food and water, basic bedding, a treadmill, instruments, and a three-camera video surveillance system-is inspired by the simulation projects conducted by universities and space agencies to test human life on spacecrafts and on Mars. The participants' conditions partially emulate those of astronauts orbiting Earth: sleeping in scheduled rotations, receiving messages on a delay, exercising daily, and tracking their energy usage. They embark on Orbit without rehearsal, each with their own assignments, objectives, and visions of the future and survival. They transmit messages across the glass "to beings both present and unseen." The endeavor is, in MPA's words, "real theater."
Orbit is live twenty-four hours a day for ten days, from February 9 through 19, 2017, and is viewable from inside the theater during regular Museum hours, and continuously from the corner of West and Gansevoort Streets. A series of theatrical climaxes will occur each day. Entry to the theater is free with Museum admission. For additional details and schedule updates for MPA's Orbit, please visit whitney.org.
FINALE
ASSEMBLY
February 19: 8 pm
Floor Three, Susan and John Hess Family Theater
Assembly marks the dramatic finale of Orbit. Ending on a dissonant chord, this theatrical event marks the Orbiters' exit, and orchestrates a culminating series of actions within a live environment by M. Cay Castagnetto (sound) and Maria Shaplin (lighting).
For ticket information, additional details, and schedule updates for MPA's Assembly, please visit whitney.org.
ABOUT THE EXHIBITION
Since relocating to California's Mojave Desert in 2013, artist MPA (b. 1980; Redding, CA) has been immersed in a broad inquiry into the potential colonization of Mars, often known as the red planet. In this multipart exhibition, the artist looks at Mars as a place for settlement and a resource for our own planet, as well as a site of possible human origin. MPA's research considers unconventional sources such as mythology, psychic accounts, and personal narratives as credible authorities. By reflecting more generally on histories of colonization, RED IN VIEW raises questions of militarism and patriarchy, prompting us to examine our own, often subconscious, colonizing behaviors.
Orbit and Assembly are the final movements of RED IN VIEW.
The exhibition is organized by Jay Sanders, Engell Speyer Family Curator and Curator of Performance, and Greta Hartenstein, senior curatorial assistant, with Allie Tepper, curatorial project assistant.

EYE of the EARTH, Ruth Hardinger solo exhibition at David&Schweitzer Contemporary that opens on February 17th, 6-9 pm in Bogart 56 in Bushwick, and on March 12 will have a panel discussion (probably 3 pm). The exhibition will have works on paper, sculpture and tapestries, including differing materials with anthropological, environmental, cultural/social aspects. The exhibition closes the night of March 12.

February 1, 2017 By intsculpturectr in In the Studio Tags: Jan Garden Castro
Ruth Hardinger is a passionate environmental activist, and her art-making materials, processes, and forms stem from this. Her studio - about 900 square feet with high ceilings - is filled with different series she has made or is still making. Some will be in a solo show at the David & Schweitzer Contemporary, Bushwick from February 17 -March 12, 2017. D&S will also exhibit Hardinger's work at Volta, March 1-5, 2017. Heavy totem-like cement sculptures stand above medium-tall and smaller works; the walls, tables, and floor are covered with beautiful natural rocks and smaller cement and mixed media pieces. Stacks of graphite works on paper and graphite on flattened milk cartons lie in a large mound in one area. Monumental framed graphite works weighing over 200 pounds each hang high on studio walls, and a giant graphite rubbing titled 72 of 74 commands the back wall. I estimate that the studio holds more than 40 large and small sculptures and more than 200 two-dimensional works. Hardinger has another studio upstate as well. Playwright Edward Albee III (3.12.1928 - 9.16.2016) owned seven of her works.
Even before she talks about her sculpture, Hardinger shows me a map of gas leaks in New York city - a series of red veins with spiking areas indicate where natural gas is leaking and poisoning the city with methane, CO4, the potent greenhouse gas 105 times stronger than CO2, which lives for 8-12 years in the atmosphere while it converts to CO2. She is a passionate advocate for protecting the environment from industrial exploitation. She co-organized Art and Activism against the Drill, at Exit Art, 2010, and she and Rebecca Smith initiated a study of fugitive pipeline emissions in Manhattan through Damascus Citizens for Sustainability and then held an important exhibition and panel discussion about fugitive emissions of methane gas sponsored by the Cooper Union College Institute for Sustainable Design in 2013.¹
Her 2016 series "Layers Live and Rise," her "Basement Rocks" (reviewed in Sculpture Magazine, December 2015), "Envelope/Envelop," and other series are abstract works made with cement, rope, and other media. They somehow take us below earth's surfaces to places most of us cannot see to invent the spirit of areas that geophysicists are newly researching. They suggest that fracking, leaking and exploding pipelines, air and water pollution, the ozone layer (causes asthma), global warming, and human-related disruptions of natural rock fissures and fault-lines contribute to shifting tectonic plates and other natural disasters.
Her art works are not actual narratives but pure abstractions. Her concrete sculptures cast mostly in cardboard boxes show each mold's imprints, folds, and ribs along with tonal fluctuations of the gray cement that is a primary material. Her shapes begin as porous and fluid yet become solid in oddly human, abstract ways. One material she incorporates in her sculpture is stone wool, a material that reduces energy use in building construction by 80 - 90% if properly used. This material has an earthlike color. Some formations also refers to the earth's earlier geologic periods such as Paleozoic.
Hardinger's art is a rich amalgam of tales of beauty and caution. Similar to Arlene Shechet's play with ceramics, Hardinger's art both addresses and defies sculptural conventions. Her materials may turn from liquid to solid, figurative to abstract, unseen to visible, subconscious to conscious. Her subterranean art is earthy and other-worldly, familiar and unfamiliar. It's uncharted and perhaps fraught with danger. Her primary, primitive materials evoke time, memory, loss, and, above all, notions of materiality itself. Her making processes literally involves transforming materials in ways that are physical and psychological.
When Hardinger spent a year in Oaxaca on an Institute for International Education grant sponsored by the Fulbright Foundation, she developed several exhibitions based on her creative interpretations of ancient ball games played by different Mesoamerican cultures, and she developed a series titled Bundle of Rights. She still actively explores ancient traditions and ideas and still works closely with particular Zapotec tapestry weavers to create collaborations that are timeless.
Her art evokes shifts in time and place, and reminds us that cultural disruptions occur daily and over millenia. Both in her studio and for her planned exhibitions, her work marks pathways that point to earth's fragility, its seen and unseen natural beauty, and its human-made threats.
Hardinger's numerous solo shows, writing, videos, and reviews are on her website www.ruthhardinger.com. Solo shows include: The Basement Rocks - LOUDER Amalie A. Wallace Gallery, Old Westbury, LI, Trace/Matter,(2 person) Five Myles, Brooklyn, and Long Island University Brooklyn. Hardinger earned a Bachelor of Arts in Classical Studies (Magna Cum Laude) at Hunter College, City University of New York and received the prestigious MacDowell Travelling Scholarship. Her atypical art background - she studied only painting for two years at the Art Students League - contributes to her unique approach to using industrial and elemental materials to make art.
By Jan Garden Castro
________________________________________
¹ See www.ruthhardinger.com/ for specifics related to these and other projects. Hardinger is on the Board and Steering Committee for Damascus Citizens for Sustainability (DCS) , based in Damascus PA and Narrowsberg, NY. This environmental group addresses scientific, political, and health issues against gas extraction, pollution, and climate change.
Also, this overview will be supplemented by a new critical/art historical essay on Hardinger for the D&S exhibition in February.

The second exhibition in March

Offering of Bundles
My work is in the room C23 in VOLTA Pier 90 that opens on March 1 and closes on March 5. The Bundles of Rights,
has two tapestries based on cartoons drawn by me in collaboration with a Zapotec weaver in a Oaxaca village. The exhibition
consists of a large scale sculpture that runs across the floor and up to the ceiling.

There will be a further internet description of this work by Volta and a paper of description that one can take.

Peter Baren, FF Alumn, with Everything Must Go! Beggars Banquet. We The Blind People? Peace Will Come To Me! durational performances for FLAM (Forum Of Live Art) during ART ROTTERDAM, 8-12 February. Van Nellefactory, Rotterdam, The Netherlands.
FLAM (Forum Of Live Art) at ART ROTTERDAM/INTERSECTIONS. Intersections: an exhibition of installations, site-specific works and performances by non-profit spaces & artist initiatives.
For Art Rotterdam FLAM will generate performative spaces within the environment of the art fair that both integrate with and interrogate this environment, through a spectrum of live works ranging from the visibly performative to subtle infiltrations into the fair space. Parallel to their dialogue with the fair, chosen artists will explore different layers of the performative self-asking whether the performative state is one of delusion or an exercise on the multiplicity of the self. FLAM artists in Art Rotterdam: Peter Baren, MOHA, Fernando Belfiore, Samira Elagoz, Josefin Arnell & Max Goran - Hellfun, Clara Saito, Cathrine Andresen, Dina from Egypt, Vincent Riebeek and the Young Boy Dancing Group, Maciej Sado, Beati Niesyta and Simon Asencio. FLAM 2017 team is formed by Rose Akras (director) and Alice Pons, Olivia Reschofsky and Titus Nouwens (curatorial team).http://www.basisforliveart.com/index.php?id=9

A More Perfect Union? Power, Sex and Race in the Representation of Couplesilluminates ways in which artists of different generations have explored the meaning of marriage, the nature of human relationships, sexuality, and public versus private expressions of love. Issues raised by the exhibition include the representation of the roles of women and men, social class, race, and same-sex marriage.
Artists in the exhibition include:
Bo Bartlett, Barbara Bullock, Alex Kanevsky, Gabriel Martinez, Sarah McEneaney, Irving Penn, Rochelle Toner, Bill Walton, etc

Happy new year!
Just before the USA inauguration, I was in The Gambia, West Africa. In 2016, hundreds of thousands of Gambians voted out a dictator with marbles - and though he immediately conceded defeat, he soon changed his mind. It took several days beyond his official mandate, but the new, democratically elected President of The Gambia is now in office.
I offer this piece of optimism and struggle to you, wherever you are located. El pueblo, unido, jamas sera vencido...

So this is the plan that we came up with in the huddle, stunned and not so stunned at the storm clouds that have broken, at the deluge that is here: we are putting up alternative facts to the alternative facts that are being deployed in a rightward swerve that has us up against the rails. We are also putting up an alternative common sense to the centrist liberal one that is what ultimately, at the fundamental level, keeps this world from coming undone, preservation being its constitutive mandate. "Let us imagine," David Marriott begins his essay in this issue, "that 'black lives matter' is a scandalous, even decadent claim, characterized, as the definition has it, by excess or luxury." If this is so, Marriott makes clear, it is an excess we cannot afford to not afford. It is evident that #BlackLivesMatter and the organizations that coalesce the Movement for Black Lives (M4BL) represent the most important and promising developments in the theory and practice of abolition. The luxury it is bound to may be communal above all else.
Unwinding fantasies of a post-racial society, the movement has rerouted political conversations and reignited imaginations. But we should bear in mind-keeping the alternative facts at bay-that this is happening through pelted riot shields and clogged circulation illuminated by the light of a blazing CVS store. And also, as Jared Sexton points out, through "the independent generation of a vast digital archive, a prolific online social-media commentary, and a rich analogue protest culture involving political graffiti, fashion, and dance, among other things." Ferguson, as artist Carl Pope would probably put it, was and it ain't: the future is its real name. It is what is happening, at all times and on all frequencies, as long as the desire to disorganize this world, to mangle it into something radically unlike itself, continues to burn. This is what is exemplary: the scorch-trail that the new insurrectionary bodies have put through everything, and which in turn is beginning to texture our moment away from the homogenous continuum of a resilient neoliberal and anti-black status quo, despite the desperate efforts to retrench it with executive orders and crony appointments.

The mandate we face is a new articulation of race and its role in reproducing class society. Or perhaps it's the reverse: a new account of class and its role in reproducing racist society. Certainly the whole thing is gendered. The whole thing is increasingly difficult to disentangle from a mutating earth system, too. The whole thing is rotten. Everything must be considered, especially what lies beyond the world as it is currently assembled and the institutional practices holding it together. It is important to record this rethinking, to report back, to circulate the material, and build the archive. History teaches that neither reform nor revolution is possible without revolutionary theory.
The mass media knows this too, and it has hostilely presented M4BL in general and BLM in particular in ways that simplify its ideas, downplay its organizational capacity, shade over its intersectional potency, and demonize the young black bodies whose availability to unaccountable state violence is the oldest and most consistent American reality since the European invasion. It certainly predates the republic, such as it is, and as of this writing, it may outlast it, now that a(nother) white supremacist has been elected. In light of such distorting narratives, it is important to provide a more robust, dynamic, and truthful image of this new activism through a partisan but critical lens. It seems necessary to place this current revolutionary sequence and its ensembles within a larger landscape of radical thinking, to highlight the bonds that exist in the crawlspaces of the common project.
-Julieta Aranda, Brian Kuan Wood, Gean Moreno, Stephen Squibb, and Anton Vidokle

In this issue:

Adam Pendleton-Just Back from Los Angeles: A Portrait of Yvonne Rainer
Adam Pendleton's Just Back From Los Angeles: A Portrait of Yvonne Rainer is the third in a series of video portraits, following My Education: A Portrait of David Hilliard, the former chief of staff for the Black Panthers, and Lorraine O'Grady: A Portrait. This text represents a transcription of the script Pendleton prepared for Rainer to read during their day spent filming at the Ridgeway Diner in Chelsea. The text mixes citations from Stokely Carmichael, Malcom X, Keeanga-Yamahtta Taylor, and excerpts from Rainer's own published works; the film ends with the gospel song "I Am Saved" by the Silver Harpes over the footage of Rainer's now canonical movement work Trio A. Whether read or viewed, Just Back from Los Angeles is an uncanny work, one that deploys the double meaning of the word "movement"-now choreography, now social uprising-to reveal a shared method of freedom coursing beneath traditions typically received separately.

I'm writing to let you know that I'm embarking on an ambitious new project, and I hope you'll join me in making it happen.

Presented by More Art, "Clean Labor" is a dance performance and work of political agency created in collaboration with cleaning professionals at the Wythe Hotel in Brooklyn. I've been working with the team at the Wythe and a group of dancers to translate the graceful and strenuous motions of cleaning into a one-hour performance. Through dance, project aims to bring greater visibility to the cleaning profession and highlight the value of this work in our everyday lives.

If you're in NYC, I'd love for you to attend one of the three performances of "Clean Labor" on March 5, taking place in a hotel room and the rooftop bar at the Wythe, as well as at the Armory Show art fair VIP reception. Tickets are available through our Kickstarter campaign. https://www.kickstarter.com/projects/486893664/clean-labor

Even if you're not in town, you can help make this work possible by pledging to receive limited-edition prints, pins, and other rewards.

Finally, I would be grateful if all of you could share the campaign with your friends and followers on social media.

Advance tickets & info: www.dixonplace.org (212) 219-0736
(The Dixon Place Lounge is open before, during, and after the show. All proceeds directly support DP's mission and artists.)

About the artists:
Todd Alcott is a screenwriter living in Los Angeles. He's been working on Feeder Birds for sixteen years and flew all the way to New York just to do this show. He'll be reading with M. Sweeney Lawless, Steven Rattazzi, and Gary Schwartz. toddalcott.com
Maëlle Doliveux is a French and Swiss illustrator, cartoonist and animator whose clients include The New York Times, Newsweek and SpongeBob comics. Her work received a gold medal from the Society of Illustrators in 2015 and she has recently begun a partnership as designer in a comics and art publication company called Beehive Books. http://www.maelledoliveux.com

Felipe Galindo (aka Feggo) creates humorous art in a variety of media, including cartoons, illustrations, animations, fine art and public art. www.feggo.com
Jennifer Hayden is the Eisner-nominated author and artist of The Story of My Tits, a graphic memoir about her life and her experience with breast cancer. Her first book, the autobiographical collection Underwire, was excerpted in The Best American Comics of 2013. You can read her daily diary comic Rushes online at thegoddessrushes.blogspot.com. www.jenniferhayden.com

Lauren R. Weinstein is a cartoonist, illustrator, painter and avid gardener who lives in scenic New Jersey. She has published three books: Girl Stories, Inside Vineyland and Goddess of War. Her new strip, Normel Person, appears in The Village Voice. http://www.laurenweinstein.com

R. Sikoryak is the author of Masterpiece Comics (Drawn & Quarterly) & the forthcoming Terms and Conditions: The Graphic Novel. He has drawn for The New Yorker, The Onion, MAD & The Daily Show with Jon Stewart. He has hosted Carousel since 1997. http://rsikoryak.com

Copyright (c) 2017 R. Sikoryak, All rights reserved.
You are receiving this email as a friend/supporter of rsikoryak.

Adrianne Wortzel, FF Alumn, Brown Foundation Fellows Program at the Dora Maar House.
Adrianne Wortzel will be a Fellow at The Brown Foundation Fellows Program at the Dora Maar House in Ménerbes, France for the month of March to work on her project: "Urban Isles." a prose poem algorithmically combining Charles Darwin's writings on the Galapagos Islands and public domain data sources on migrations to urban areas.

I am writing to share the news that Sonya Rapoport's 1974 painting "Koch II" will be featured in the show Hippie Modernism at Berkeley Art Museum. This particular painting - one of her largest and most fully realized works - has not been shown for almost 40 years.

The public opening is this Tuesday, Feb 7th, from 7 - 10pm. Hippie Modernism runs through May 21st, 2017. More information about the exhibition and related programming is at the BAMPFA website.

To celebrate this exhibition, the SRLT has scanned over 300 rarely-seen slides of Sonya Rapoport's "Pattern Paintings" from the 1970's. We are sharing a selection on our Instagram page: @Sonya.Rapoport

We are so pleased that Sonya Rapoport's work is included in this major exhibition!

Hello Everyone,
I want to share some good news with you I'm having a retrospective at the well known Boijmans Museum in Rotterdam Netherlands.
It will be up for a year February 11, 2017 till January 28th 2018. If your ever in the neighborhood you can see the work. I will be posting on Facebook the photos of the exhibition for those who cannot get to Rotterdam. and I will send you an email when they are posted. You can read the press release and the invitation here.
Happy New Year to you all,
Rhonda Zwillinger

Andrea Kleine's new work began as a dance about the music deployed in the CIA's torture program. In despair, Kleine abandoned that idea and channeled theater shaman André Gregory from his 1981 film My Dinner with André, creating a new version of the famed dinner conversation as she seeks answers on how to make a dance about torture, or how to make anything at all. The piece emerges as an amalgam of fragments: fractures of complicity, futility, and desire.

The true date of Annie Lanzillotto's reading at the Italian American Writers Association is:
Sat 2/11
5:30pm
Italian American Writers Association (iawa)
at the Sidewalk Cafe
94 Avenue A (at 6th Street)
NY NY 10009www.iawa.net
the evening opens with an open mic, so bring your 3 minutes of poetry or story.... then Annie features with a 15 min set... And Joel Allegretti features with a 15 min set. Great night

I'm curating an exhibition of E.S.P. TV's work at Pioneer Works, called WORK (haha), which opens February 10, 7-10 pm. They've been engaged with live performance broadcasts for years, but this is their first institutional solo exhibition. They're rebuilding Pioneer Works' office and turning it into a set, within which us staff work, as a kind of play with institutional labor and the conventions of both the corporate office and the medium of television itself. The footage will be turned into episodes of office drudgery, complete with jingles, keyed-out office desks, randomized production language, and commercial interruptions. It should be cool. Come if you can!

There's also a bunch of interesting, related performances and screenings, see below.

Critical Practices Inc. and 21ST.PROJECTS is pleased to host a series of performative and collaborative works by Nicolás Dumit Estévez Raful.

The P Word is a process-based experiment that rethinks the exhibition space as a playground where the performative is allowed to thrive away from the constrains imposed by visual documentation and instead just be. Concurrently, all possible attempts to turn the art experience into a material object are counteracted by the slippery nature of the seemingly absurd activities comprising the program, as well as by their communal format. And other than the publication that will record in writing some of the conversations and moments that will emerge along the way, all other aspects of The P Word are to be recalled from one's memory. The P Word dispels the need for art, specifically performance art, to rely on audiences and viewers, as it requires every potential voyeur to become a co-creator. It also challenges the unquestioned system that keeps funneling an endless supply of art goods, as opposed to experiences, onto our already burdened planet.

PROGRAM February 10, 2017 from 2:00 to 5:00pm

Space is limited to 6 people, please sign up using this doodle scheduler:http://doodle.com/poll/9p2tteq5vqurpe5x
(You will receive confirmation and the address of the performance once you have successfully signed up.)

See attached for more information about the performance on February 10 and about artist Nicolás Dumit Estévez Raful.

Welcome To This House (2015), is a feature documentary film on the homes and loves of poet Elizabeth Bishop (1911-1979), about life in the shadows, and the anxiety of art making without full self-disclosure. Hammer filmed in Bishop's 'best loved homes' in the US, Canada, and Brazil believing that buildings and landscapes bear cultural memories. Interviews with poets, friends, and scholars provide "missing documents" of numerous female lovers. Bishop's intimate poetry is beautifully performed by Kathleen Chalfant and with the creative music composition by Joan La Barbara brings Bishop into our lives with new facts and unexpected details.

This event is FREE and open to the public.
For more information visit sfsu.edu.

Welcome To This House now released on DVD for home and institutional use. Contact barbarahammer@gmail.com to purchase.

and

Changing the Shape of Film: An Evening with Barbara Hammer
at the Exploratorium

Join us for an evening of transmuted cinema, where images break through the traditional rectangular screen and emerge as unexpected and amorphous shapes. Working since the late 1960s, Barbara Hammer's career has been marked by experimentation, intellectual rigor, and a commitment to testing boundaries.

Tonight, Hammer will present two works of expanded cinema that reconsider exactly where film images belong. With Changing the Shape of Film, a 12-foot weather balloon becomes the screen for Hammer's own films, forcing the audience to find new perspectives, and seating arrangements. In Available Space, a 16mm projector is mobilized and the architecture of the space becomes the screen. In this work, the viewer is also mobilized and forced into continuous physical motion to view it.

Presented in conjunction with Canyon Cinema 50, this event is the first in a yearlong series of programming in celebration of the 50th anniversary of Canyon Cinema's incorporation. In the tradition of Canyon's monthly Canyon Cinema Salon series, Hammer's performances will be followed by an intimate conversation.

View the event page here.
Tickets are $15 for Adults and $10 for Members. To purchase tickets click here.

The Wall Street Journal, February 7, 2017
ARTS
ARTS IN REVIEW
ART REVIEW
'Matisse and American Art' Review: A Modern Master and His Progeny
How Henri Matisse inspired generations of American artists-from Arthur Dove to John Baldessari
By
JUDITH H. DOBRZYNSKI

In 1908-the same year that a Paris correspondent for the New York Times called his works "too ridiculous even to laugh at"-Henri Matisse had his first solo exhibition in the U.S.: Alfred Stieglitz exhibited one of his paintings, "Nude in a Wood" (1906), and several drawings at his avant-garde gallery 291.

American artists weren't laughing either, but for the opposite reason. They were admiring Matisse, studying with him, collecting him and drawing inspiration from him. And they have ever since, as "Matisse and American Art" at the Montclair Art Museum illustrates. With 19 works by Matisse and 44 by others, this enterprising exhibition extends the previously explored territory of Matisse's influence on postwar painters like Mark Rothko, Helen Frankenthaler and, especially, Richard Diebenkorn backward to early modernist artists like Arthur Dove and forward to contemporary artists like Faith Ringgold.

Subtly and boldly, in homage, in spirit and in appropriation, the 34 Americans in this exhibition borrowed Matisse's palette and images, learned from his compositional structures, adopted his fluid brushwork and adapted his themes to their purposes.
Matisse's "Nude in a Wood," a brushy confection of pinks, peaches and greens, hangs in the opening gallery here, along with some drawings-a sampling of his art that Americans in the early 20th century might have seen in Paris, at 291 or at the 1913 Armory Show. Juxtaposed are works created in response. Dove, for example, painted a fulsome still life, "The Lobster" (1908), that shares ancestry with Cézanne, but in brilliant colors and with an arabesque background that could have been inspired only by Matisse. Similarly, Alfred Maurer's "Le Sentier" (c. 1908) deploys simple shapes, Fauvist colors and fluid lines, rather than details, to form a landscape.

The exhibition then proceeds thematically through several Matisse hallmarks. A wall in the next gallery is hung with eight vividly colored prints by conceptual artist John Baldessari: His "Eight Soups" (2012), which include tomato and blueberry varieties, playfully mash up Matisse's recurring images of bright orange goldfish in a bowl with Andy Warhol's soup-can paintings. Nearby is a blunter appropriation of the goldfish theme-a painted bronze sculpture, "Goldfish Bowl II" (1978), by Roy Lichtenstein.

Next come Matisse's open windows, which he used to explore the boundaries between interior and exterior spaces, as shown in "Interior at Nice (Room at the Beau Rivage)" (1917-18) and "Nu campé, bras sur la tête" (1947). Milton Avery's "March on the Balcony" (1952) is a flatter, simpler window view that provides evidence for a contention made by the influential critic Clement Greenberg-that Avery played a crucial role in art history, acting as a bridge between Matisse and the Abstract Expressionists.
Matisse's studio interiors, which portray the textiles, sculptures and other items that sparked his imagination, inspired a wide range of works. Stuart Davis's "Studio Interior" (1917), which he made after seeing Matisse's "The Red Studio" (1911), and Hans Hofmann's "Pink Cupboard" (1939), for which he drew on Matisse's "Pink Studio" (1911), share color or structure or both with Matisse works. For Rothko, who intently studied "The Red Studio" at the Museum of Modern Art, which owns it, before painting "No. 44 (Two Darks in Red)" in 1955, the connection is much looser-no objects, but a similar sense of space.

Matisse's famed use of patterns is here, too, in Judy Pfaff's biomorphic "Six of One-Meloné" (1987), for example, and Warhol's appropriation, "Woman in Blue (After Matisse)" (1985), which mimics Matisse's 1937 painting of a female in a full, frilly dress.
His late-in-life cutouts are echoed in Romare Bearden's "Dream" (1970), a collage of a nude, lying on a bed, made from cut, colored paper. The work also draws on Matisse's palette and the odalisque theme, which Matisse used in several paintings.
The exhibition also takes note of one case where the flow was reversed. Patrick Henry Bruce was both student of and friend to Matisse, and his Cubist still life "Peinture/Nature Morte" (1925-28) hangs next to a print of Matisse's design for "La Danse" (1935-36), which borrowed Bruce's distinct rose, blue and other colors.
So many artists looked to Matisse-not only for inspiration but also for permission to experiment-that this exhibition could have been much larger. As a supplement, the Montclair museum gathered 53 additional works from its permanent collection that relate to Matisse-by Alex Katz, Walt Kuhn, Nick Cave, Mickalene Thomas, Nancy Spero, William Baziotes and others-and installed them in its permanent collection galleries.

Together, they allow visitors to see Matisse though the eyes of artists. The result is a better understanding of Matisse and a greater appreciation for the man Rothko called "the greatest revolutionary in modern art."
-Ms. Dobrzynski writes about culture for many publications and blogs at www.artsjournal.com/realcleararts.

A Convening Around the Peace Table
February 12th, 2:00pm to 5:00pm
Location: Queens Museum
Mierle Laderman Ukeles' Peace Table, serves as the site for convenings on peace, from
the personal to citywide to global. Ukeles and the Museum have conceived a series of
public programs meant to engage and contemporize some of
Mierle Laderman Ukeles: Maintenance Art's important themes.
Care as Culture is the final convening that brings the perspectives of eco-artists,
activists, and experts on climate change together to interrogate and enrich
culture's place in the movements for environmental justice. Reflecting
What prevents us from working together and how can we advocate for change?
Case study speakers include Newton Harrison, The Natural History Museum,
Natalie Jeremijenko, and Mary Mattingly. Respondents include Carol Becker,
Francesco Fiondella, Allan Frei, Hope Ginsburg, Alicia Grullon, Amy Lipton,
Lisa Marshall, Jennifer McGregor, Aviva Rahmani, Jason Smerdon,
Stephanie Wakefield, and Marina Zurkow.

INFILTRATION ART
February 16, 8:30am to 10:00am
Location: Nassau Suite East/West, 2nd Floor
Chairs: Katharine J. Wright, The Metropolitan Museum of Art; Gillian Pistell,
The Graduate Center, The City University of New York
General Idea's Normal Art
Alex Kitnick, Bard College
Chris Burden's Institutional Accomplices
Sydney Stutterheim, The Graduate Center, The City University of New York
Using Copyright Law to Reclaim the Spirit of Art as a Revolutionary Act in
The Blued Trees Symphony
Aviva Rahmani, Institute of Arctic and Alpine Research, University of Colorado Boulder
Regular Sessions; Sessions
SUBJECT AREAS
Art History-Contemporary Art
Art History-Public Art
Interdisciplinary-Museum Studies/Curatorial Studies/Art Criticism

All events will take place in the gallery and are free and open to the public.
Internationally-acclaimed Jewish feminist artist Helène Aylon presents her conclusion to The G-d Project: Nine Houses Without Women, her 20-year series highlighting the dismissal of women in Jewish traditions and text. In Afterword: For the Children, Aylon dedicates her finale in the series to the future generations, challenging all who regard The Ten Commandments not to shrug off a dark foreboding which emanates in her view, from the patriarchy - not from God.

The text of the Third Commandment holds future generations responsible for the sins of their fathers. The artist's examination of this text reveals a universal dilemma through its connection to contemporary policies and practices that shape the world our children will inherit. The concept of "Tikkun Olam" (correction of the world) holds significance in Aylon's immersive digital installation, as her continuous attempt at "repairing" the revered text becomes​ a​ quiet yet assertive protest.

Helène Aylon is a multi-media, issue-oriented artist who studied with Ad Reinhardt at Brooklyn College (1960.) The Women's Caucus for Art presented her with the 2016 Lifetime Achievement Award. Aylon has written a memoir, Whatever Is Contained Must Be Released: My Jewish Orthodox Girlhood, My Life As A Feminist Artist, published by the Feminist Press.

In the 70's Aylon showed process paintings that allude to the body and the aspect of change. These were shown at Betty Parsons Gallery and White Columns "112 Workshop." Three of these paintings also known as The Breakings have been acquired by SFMoMA. Aylon refers to this series as Bio-logical Feminism.

In the 80's Aylon created an Earth Ambulance, driving it to military sites nationwide. The earth near these bases was "rescued" in pillow cases scripted with women's dreams and nightmares pertaining to nuclear war. It was brought to the mass rally for disarmament at the UN in 1982 before being shown at Creative Time at the end of the Cold War and was acquired by the Hudson Valley Center for Contemporary Art. Aylon refers to this era as Eco-logical Feminism.

In the 90's, Aylon sought to "rescue" God ("whatever God may be") from patriarchal projections. The Warhol Museum borrowed The Liberation of G-D that had been acquired by the Jewish Museum. This began the G-D Project: Nine Houses Without Women that was shown at the Hammer Museum (LA) and the Contemporary Jewish Museum (SF.) Now in 2017, Afterword: For the Children, is the finale to The G-D Project: Nine Houses without Women. Aylon sees this as Theo-logical Feminism.

Aylon's exhibition "Afterword: For the Children" will travel to the Jerusalem Biennale 2017 opening on October 1st, 2017
The Hadassah-Brandeis Institute develops fresh ways of thinking about Jews and gender worldwide by producing and promoting scholarly research, artistic projects and public engagement.
The world's only academic center of its kind, the HBI provides research resources and programs for scholars, students and the public. The Institute publishes books and a journal, convenes international conferences and local programming, and offers competitive research awards and internship programs.
Kniznick Gallery, Brandeis University
515 South St., Waltham, MA
781-736-8102http://www.brandeis.edu/hbi/residencies/artist.html
M-F 9-5

Yura Adams has developed four illuminated headdresses in her studio this past month, commissioned by Tigertail Productions of Miami, Florida for the Fire Festival coming up in April. The headdresses will be worn by the Firegod guides at Vizcaya in Miami April 15, 2017, taking audience members through the dark from one performance to the next. For more information on the festival go to www.tigertail.org.